to someone else, and so on. Suddenly, art and ev-
eryday life collide. Brown and her friends origi-
nally performed the work on rooftops in SoHo;
here, the dancers will stand atop buildings around
the High Line. Bring a camera. (Gansevoort St. at
Washington St. 212-500-6035. June 9-10 at 7 and
June 11 at 5 and 7. Rain date: June 12 at 5 and
7. thehighline.orglaboutlpublic-art.)
SUSAN MARSHALL & COMPANY
Lately, in order to see the MacArthur recipient's
work, you've had to go to New Jersey. (She has
frequently premièred dances in Montclair.) For her
company's twenty-fifth anniversary, New Yorkers
can see a double bill of recent pieces in two of the
theatres at the Baryshnikov Arts Center. "Adaman-
tine" requires the larger venue, which provides
enough room for curtains to rotate, sandbags to
swing, and shadows to loom with minds of their
own. The witty "Frame Dances," which you can
see before or after "Adamantine," is about confine-
ment and the effect of compressed spaces, includ-
ing the frame of a video camera. (450 \XZ 37th St.
212-868-4444. June 9 at 8 and June 10-11 at 7,
8, and 9:15.)
ROYAL DANISH BALLET
Denmark is a small country, but it figures promi-
nently in the world of ballet, mostly owing to a
single man, August Bournonville (1805-79), who
created dozens of works for the Royal Danish Bal-
let, including the version of "La Sylphide" that we
most often see today. The Danish-born Nikolaj
Hübbe, once a star with New York City Ballet,
has returned to lead the company where he got
his start, and is intent on expanding its repertoire
and modernizing its look. In its first New York
visit since 1988, R.D.B. will perform three pro-
grams of ballets and excerpts, including "La
Sylphide," "Bournonville Variations," and bits of
"Napoli," as well as "The Lesson," Fleming Flindt's
lurid tale of murder in the ballet studio (based on
an lonesco play), and Jorma Elo's "Lost on Slow."
(David H. Koch, Lincoln Center. 212-870-5570.
June 14-15 at 7:30, June 17 at 8, June 18 at 2 and
8, and June 19 at 3. See davidkochtheater.com for
programs. )
RIOUL T
Whether you call it artistic thoroughness or savvy
marketing, Pascal Rioult works in series. The first
program for his regular visit to the Joyce assem-
bles in full his "Bare Bach" trilogy. In the third
piece, set to the Sixth Brandenburg Concerto, the
use of video adds to his fanciful response to the
Baroque composer's structures. The second pro-
gram culls the best from two previous series-
Stravinsky and Ravel-and initiates a new one,
pulling Helen of Troy out of Aaron Jay Kernis's
"Air," as the composer conducts a seven-piece cham-
ber ensemble. (175 Eighth Ave., at 19th St. 212-
242-0800. June 14 at 7:30, June 15 at 7, June
16-17 at 8, June 18 at 2 and 8, and June 19 at 2
and 7:30.)
SUSAN RETHORST
It's probably out of keeping with the process-
oriented approach of Danspace Project's two-month
"Retro(lntro)spective" to call the performances of
parts three and four of "208 East Broadway" a
culmination. But they are something of a final
product. First, Rethorst moves her living room
into St. Mark's Church, exaggerating the dance/
real-estate tensions of earlier installments. Then
she scatters the furniture and a collection of move-
ment ideas and invites people to come and go.
Those who have witnessed Tere O'Connor's "wreck-
ing" of the dance during the open rehearsal on
June 8 will be curious to see how Rethorst re-
sponds to his strong ideas. (St. Mark's Church In-
the-Bowery, Second Ave. at 10th St. 866-811-4111.
Part 3: June 14 and June 16-17 at 8. Part 4: June
18 at 3.)
BEN MUNISTERI DANCE PROJECTS
Munisteri is a mature craftsman, rightfully leery
of repeating himself. In creating "Catalog" (2009),
which he reprises here, he denied himself partner-
ing and limited the choreography to five move-
ment phrases. The results were good, a kind of el-
egant machine, set to Radiohead. For the new work
"Robot vs. Mermaid," he cut out pirouettes, too,
then let everything back in at the end. There aren't
28 THE NEW YORKER, JUNE 13 & 20, 2011
CLASSICAL MUSIC ·
SUMMER PREVIEW
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UNT ANGLED?
This has been a terrible year for classical music,
with major orchestras and opera companies in
crisis; summer in the Northeast, however, allows
us to sample the riches that remain. At Tangle-
wood, the uncertainty is over: James Levine's pro-
grams with the Boston Symphony Orchestra will
be taken over by such maestros as Charles Du-
toit, Emmanuel Krivine, and Hans Graf. Jean-
Yves Thibaudet has a prominent role, perfonn-
ing Ravel's complete piano works in two solo
recitals (July 20-21) and in a concert with the
B.S.O. (July 24) that features the composer's two
concertos. Opera fans can enjoy concert perfor-
mances of "Porgy and Bess," conducted by Bram-
well Tovey (Aug. 26), and of Handel's "Orlando,"
with Nicholas McGegan leading his Philhanno-
nia Baroque Orchestra (Aug. 16).
LINCOLN CENTER LIONS
Franz Welser-Möst brings the magnificent Cleve-
land Orchestra to Avery Fisher Hall, conducting
symphonies by Bruckner (Nos. 5 and 7-9), along
with works by John Adams (July 13-14 and July
16-17), as part of the Lincoln Center Festival;
operatic attractions include "A Magic Hute," one
of Peter Brook's Bouffes du Nord adaptations
(July 5-10 and July 12-17), as well as a single
perfonnance of Poul Ruders's "Selma Jezková,"
a work based on Lars von Trier's film "Dancer
in the Dark" (July 29). The Mostly Mozart Fes-
tival blooms in August, opening with an all-
Mozart program led by Louis Langrée (Aug.
2-3) and ending with a program that includes
not only Mozart's Requiem but also Schubert's
"Unfinished" Symphony and Stravinsky's "In
Memoriam Dylan Thomas" (Aug. 26-27).
VOICES OF SUMMER
Out of town, it's an exceptionally interesting sea-
son for opera. The Boston Early Music Festival
comes to Great Barrington to give two exqui-
sitely prepared performances of a Baroque
novelty, Agostino Steffani's "Niobe, Queen of
Thebes" (June 24-25). The Bel Canto at Car-
amoor lineup offers two exceedingly rare perfor-
mances of Rossini's gargantuan "William Tell"
(July 9 and July 15), which, despite being one of
the paramount operas of the nineteenth century,
has never found a home at the Met. Glimmer-
glass Opera has become the Glimmerglass Festi-
val, under the command of the formidable Fran-
cesca Zambello. The season features performances
of "Carmen" and "Medea," as well as generous
helpings of American musical theatre-a produc-
tion of "Annie Get Your Gun," with Deborah
Voigt (July 16-Aug. 21), and a double bill that
features the world première of "A Blizzard on
Marblehead Neck," a piece inspired by an epi-
sode in the life of Eugene O'Neill, written by
Jeanine Tesori and Tony Kushner, and "Later the
Same Evening," a fantasy about the lives of peo-
ple in Edward Hopper paintings, with music by
John Musto and a libretto by Mark Campbell
(July 21-Aug. 22).
teams, but there is a struggle between mechanical
movement and fish-out-of-water stuff-a buildup,
aided by a score of sustained tones (by Kirk
O'Riordan and the electronic-music duo Gold-
frapp), that climaxes when the dancers finally touch
one another. (Dance Theatre Workshop, 219
\XZ 19th St. 212-924-0077. June 16-18 at 7:30 and
June 19 at 5.)
BETH GILL
The back wall of the Chocolate Factory is sym-
metrical, its two sixteen-pane windows appear-
ing like eyes. For "Electric Midwife," Gill sees
that symmetry and raises it, elegantly, with two
tracks of tape on the floor. Across that implied
center, three pairs of stone-faced women mirror
one another. At first, the women configure into
friezes, moving from one static tableau to an-
other; later they become figures in a cuckoo clock,
repeating (many times) dynamic compositions of
beautiful complexity. When working with a ka-
leidoscope's geometry, the occasional S-curve of
the spine can provide a thrill. Audience seating
is also scarce: to reproduce Gill's vision, viewers
are clustered near the tape, only nine per show-
ing. (5-49 49th Ave., Long Island City. 718-482-
7069. June 17 at 7:30 and 9 and June 18 at 7:30,
9, and 10. Through July 2.)
LA MAMA MOVES
Finishing up, the series encompasses several mini-
festivals. Among the nine troupes that are part of
"Israel/New York" are several New York-based
expat outfits (LeeSaar, Deganit Shemy), but most of
them are making their U.S. débuts. "Intricate intima-
cies" zooms in on solos, duets, and trios, with a prom-
ising lineup that includes Judith Sanchez Ruiz, Will
Rawls, and the Ailey company's Abdur-Rahirn Jack-
son. Heidi Latsky also brings the latest version of
her piece "The Gimp Project: If," which presents
physical disabilities as not being disabilities at all.
(La Mama, 74A E. 4th St. 212-475-7710. Through
June 21. See lamama.org for full schedule.)
CLASSICAL MUSIC
OPERA
UNDERWORLD PRODUCTIONS OPERA
The company is bringing considerable talent to
bear on an unlikely double bill: "Apollo & Dafne
+ Clarence & Anita," operas on male-female con-
flict by Handel and Ben Yarmolinsky. The first fea-
tures the singers Amelia Watkins and Jesse Cromer,
with the period orchestra New York Sinfonia, led
by the estimable John Scott (of St. Thomas Church);
Adrienne Danrich, Will Ferguson, and Anthony
Turner sing the Yarmolinsky work, conducted by
Mark Shapiro. (Riverside Theatre, Riverside Church,
91 Claremont Ave. 212-870-6784. June 8-9 at 8.)
AMERICAN OPERA PROJECTS
The enterprising company teams up with Opera
on Tap to present "Opera Grows in Brooklyn:
Opera of Color," a show that includes selections
from pieces by such African-American composers
as David N. Baker and Nkeiru Okoye ("Harriet
Tubman: When I Crossed That Line to Freedom").
(Galapagos Art Space, 16 Main St., at Water St.,
Dumbo. galapagosartspace.com. June 12 at 7.)
ORCHESTRAS AND CHORUSES
NEW YORK PHILHARMONIC
In the first of the orchestra's mid-June programs,
David Robertson, the acclaimed music director of
the St. Louis Symphony, blends his modernist af-
finities with the Romantic tradition by conducting
not only Schoenberg's monodrama "Erwartung"
(with the increasingly versatile Deborah Voigt) but
also Shostakovich's First Symphony and Rach-
maninoff's "Isle of the Dead." (June 9 at 7:30 and
June 10-11 at 8. Robertson also leads a "Rush
Hour" concert, featuring the two Russian works,
on June 8 at 6:45.) . William Walton's lusciously <(
Italianate Violin Concerto, surprisingly underper-
formed, gets a hearing courtesy of a persuasive ad-
vocate, Gil Shaham. Nervously, perhaps, the man- Q